Johannes Brahms biography. Johannes Brahms: The Life and Work of a Genius

As long as there are people who are capable of responding to music with all their hearts, and as long as Brahms’s music generates precisely such a response in them, this music will live.

G. Gal

The work of Johannes Brahms combines the emotional impetuosity of romanticism and the harmony of classicism, enriched by the philosophical depth of baroque and the ancient polyphony of strict writing - “summarizes musical experience half a millennium" (according toGeiringer -Viennese scholar of Brahms.

Johannes Brahms was born on May 7, 1833 in musical family. His father went through a difficult journey from a wandering artisan musician to a double bass player in a philharmonic orchestra.Hamburg. He gave his son initial skills in playing various string and wind instruments, but Johannes was more attracted to the piano. Success in his studies with Kossel (later with the famous teacher Marxen) allowed him to take part in a chamber ensemble at the age of 10, and at 15 to give a recital. WITH early years Johannes helped his father support his family, playing piano in port taverns, making arrangements for the publisher Kranz, working as a pianist in opera house. Before leaving Hamburg (1853) on a tour with the Hungarian violinist Remenyi, he was already the author of numerous works in various genres, most of them destroyed.From the folk tunes performed in concerts, the famous “Hungarian Dances” for piano were subsequently born.

At the age of fourteen, Johannes graduated from a private secondary school. After graduation, along with the continuation music education, his father began to hire him for evening work. Johannes Brahms was fragile and often suffered from headaches. Long stay in stuffy, smoky rooms and constant lack of sleep due to working at nightaffectedon his health.

On the recommendation of violinist Joseph JoachiMa, Brahms had the opportunity to meetSeptember 30, 1853with Robert Schumann. Schumann persuadedJohannesBrahms to perform any of his compositions and after just a few bars he jumped up with the words: “ Clara should hear this!"The very next day, among the entries in Schumann's account book, the phrase appears: " Brahms was a guest - a genius».

Clara Schumann noted the first meeting with Brahms in her diary: “This month has brought us a wonderful appearance in the person of the twenty-year-old composer Brahms from Hamburg. This is a true messenger of God! It is truly touching to see this man at the piano, to watch his attractive young face light up as he plays, to see him beautiful hand, coping with the most difficult passages with great ease, and at the same time hearing these extraordinary compositions..."

JohannesBrahmswas accepted by the Schumann family not only as a student, but also as a son, and lived with them until the death of Robert Schumann in July 1856.BrahmsHe was constantly close to Clara Schumann and was captivated by the charm of an outstanding woman.He saw in Clara - withelastica of the famous Schumann, whom he respected immensely, mother of six children, eminent pianist, and also a beautiful and sophisticated woman -somethingsublime, respectful.

After the death of Robert ShumOn Brahms he stopped dating Clara Schumann.From 1857 to 1859 he was a music teacher and choral conductor at the court of Detmold, in which he was able to find the desired peace aftermarked by anxiety and worryyearsin Dusseldorf. We owe this bright, carefree mood of Brahms's soul to the orchestral serenades in D major and B major.

The “Hamburg period” of Brahms’ life began with a triumphant performance of his piano concerto in D minorin March 1859. The years spent in Hamburg gave a powerful impetus to Brahms's work, largely due to what became possiblewith the participation of a women's choirperform pieces composed in Detmold. Leaving later for Austria, he took with him a large musical baggage: quartets, trio in B major, three piano sonatas, as well as many violin pieces. In September 1862, Johannes Brahms came to Vienna for the first time. His delight knew no bounds. He wrote: “...I live ten steps from the Prater and can drink a glass of wine in the tavern where Beethoven often sat.” First he showed the then famous pianist Julius EpsteinQuartet in G minor. The admiration was so great that violinist Joseph Helmesberger, who was present at the first performance, immediately included this work by “Beethoven’s heir” in the program of his concerts and performed it on November 16 in the concert hall of the Society of Friends of Music. Brahms enthusiastically told his parents how warmly he had been received in Vienna.

Autumn 1863Johannes Brahms received the position of choirmaster of the Vienna Vocal Academy, which he held for only one season, partly due to intrigue, partly due to the fact that Brahms preferred not to bind himself to any obligations and to be free to create.

In June 1864Brahmswent to Hamburg again.Soonhe had to cope with her deathmother In a trioE majorfor hornsJohannes Brahmstried to express the melancholy and bitterness of loss. At the same time he begins the "German Requiem".All that is known about the history of its creation is that"German Requiem"occupied the composer for more than ten years and that Brahms, shocked tragic fate Schumann, shortly after his death, wanted to compose a funeral cantata. The death of the mother could be the final impetus for the continuation and completion of the requiem. Brahms completed the sixth movement of the requiem in 1868 and wrote on the title page: “In memory of his mother.”

The first performance of the still unfinished work took place on April 10, 1868 in Bremen and shocked the audience. The New Evangelical Church Newspaper, after the performance of the work on February 18, 1869 in Leipzig, wrote: “And if we expected a genius... then after this requiem Brahms truly deserved this title.”.

One ofgreatest successesJohannesBrahms was introduced to the famous surgeon Theodor Billroth, who was invitedin 1867to the University of Vienna. Big music loverBillrothbecameBrahms friend, critic and patron.

In January 1871 JohannesBrahmsreceived news of a serious illnessfather. At the beginning of February 1872 he arrivedHeto Hamburg, and the next day my father died.

In the fall of 1872, Brahms became the artistic director of the Society of Friends of Music in Vienna. Work in “Society” was burdensome; he only lasted three seasons. Then Brahms moved again to the Bavarian mountains, and both violin quartets in C minor appeared in Tutzing near Munich, which he dedicated to Billroth.

Johannes Brahms's financial position became so strong that in 1875Hecould most of devote time to creativity. He completed work on a quartet in C minor, begun in Schumann's house. In addition, twenty years of work onFirst symphony.

In the summer of 1877 in Pörtschach on Lake Wörther, Brahms wrote his Second Symphony. The symphony was followed in 1878 by a violin concerto in D major and a violin sonata in G major, which was called the Rain Sonatas. In the same year, Brahms became an honorary doctor of the University of Breslau, on the occasion of which he grew a luxurious beard, which gave him respectability.

In 1880, Brahms went to Bad Ischl, thinking that there he would be less bothered by tourists and autograph hunters. The place was calm, which contributed to the strengtheninghishealth. At the same time, a friendship with Johann Strauss began. Brahms was fascinated by Strauss's personality and music.In the summer of the following year, Johannes moved to Pressbaum, where he completed the Second Piano Concerto, the joyful character of which recalls the picturesque landscape of the Vienna Woods.

The summer of 1883 brought Johannes Brahms to the banks of the Rhine, to places associated with his youth. In Wiesbaden he found coziness and a comfortable atmosphere, which inspired him to create the Third Symphony.

LastBrahms composed his last, Fourth Symphony in 1884-1885. Its first performance on October 25 in Meiningen aroused unanimous admiration.

The four symphonies of Johannes Brahms reflect different aspects of his worldview.

In the First - a direct heir to Beethoven's symphonism - the severity of the flaring dramatic collisions is resolved in a joyful, anthemic finale.

The second symphony, truly Viennese (its origins are Haydn and Schubert), could be called a “symphony of joy”.

The third - the most romantic of the entire cycle - goes from an enthusiastic rapture of life to gloomy anxiety and drama, suddenly retreating before the “eternal beauty” of nature, a bright and clear morning.

The fourth symphony is the crownthe largest symphonist of the second half of the 19th century centuryJohannesBrahms - develops "from elegy to tragedy"(according to Sollertinsky). The greatness of the createdBrahmssymphonies does not exclude their deep lyricism.

Very demanding of himself, Brahms was afraid of exhaustion of creative imagination, thought about stopping composer activity. However, a meeting in the spring of 1891 with the clarinetist of the Meiningen orchestra Mühlfeld prompted him to create a Trio, a Quintet (1891), and then two sonatas (1894) with the participation of the clarinet. In parallel, Brahms wrote 20 piano pieces (op. 116-119), which, together with clarinet ensembles, became the result creative quests composer. This especially applies to the Quintet and to the piano intermezzos - “sorrowful notes of the heart”, combining the rigor and confidentiality of the lyrical statement,fromsophistication and simplicity of writing, pervasive melodiousness of intonation.

Publishedin 1894 the collection "49 German folk songs" (for voice and piano) was evidence constant attention Johannes Brahms to folk song - his ethicsto whom and the aesthetic ideal.Arrangements of German folk songs Brams studied throughout his life, he was also interested in Slavic (Czech, Slovak, Serbian) tunes, recreated their character in his songs on folk texts. “Four Strict Tunes” for voice and piano (a kind of solo cantata on texts from the Bible, 1895) and 11 choral organ preludes (1896) supplemented the composer’s “spiritual testament” with an appeal to genres and artistic means Bakhovsk

1833 - 1897

Creative path

Brahms is the largest composer of the 2nd half of the 19th century, who lived at the same time as Wagner and Liszt, and was their antipode. A very unique composer. He denied the extremes of romanticism (strain, exaggeration). Brahms sought and found support in the classical traditions, which played a huge role in his work. This gives objectivity to his work. All romantic experiences are contained in classic shape. He resurrected Bach's forms and genres (for example, “Passacaglia”). Brahms has an organ prelude and fugue, fugue, and chorale preludes. He was the greatest symphonist - he has 4 symphonies, 2 overtures. His symphony is not programmatic. He denied programming. In this regard, Brahms did not like Liszt and Wagner.

Bülow called Brahms's 1st symphony Beethoven's 10th symphony. Brahms considered folklore to be of great value. He was processing folk songs. “Folk song is my ideal” (I. Brahms). Arranged German folk songs. He wrote everyday German folk songs and dances: “Everyday plays for 4 hands”, “Hungarian dances”. Brahms adopted the traditions of everyday music playing from Schubert. He was interested in both Slavic and Hungarian folklore. Schubert, Schumann and Mendelssohn are Brahms' favorite composers. He really appreciated Dvorak, Grieg, Bizet. Brahms has vocal lyrics. His music is soft, sincere, where he develops the traditions of Schubert. He worked a lot in piano music (here he is close to Schumann).

Main works: 2 piano concertos, 1 violin concerto (D major), double concerto for violin and cello, 3 violin sonatas, 2 cello sonatas, 2 clarinet sonatas; chamber ensembles different composition(classical tradition): 3 string quartets, piano quartets and piano quintet, piano trios, trio with horn, clarinet quintet (not 5 clarinets).

Works for piano: 3 sonatas, variations on themes by Handel, Schumann, Paganini, various pieces, 1 scherzo, etudes based on plays by Bach, Weber, Schubert, Chopin.

Vocal works: about 200 songs and romances, vocal ensembles for everyday music playing, “Acapella” choirs and with orchestra accompaniment.

Life path

Born in Hamburg. Father is a city musician. Brahms studied piano with many (including Marxen). Marxen instilled in Brahms a love of the classics. Since childhood, Brahms was hardworking. He quickly mastered the piano. He played his own works and classics. My childhood was spent in difficult conditions. I had to earn money by playing in the theater and in restaurants. It was everyday music playing.

In 1849, Brahms became friends with the Hungarian violinist Ede Remenyi. In 1853 Brahms traveled with Remenyi as his accompanist to Europe. Remenyi's repertoire included Hungarian folk songs and dances. By this year, Brahms wrote a Scherzo, chamber ensembles, a sonata, and songs. Together they traveled to Weimar, where they met Liszt.

In 1853, through his violinist friend Joachim, Brahms met Schumann in Düsseldorf. Schumann admired Brahms and wrote his own book about him. last article“New Ways”, for which Brahms became famous.

Brahms became friends with Clara Wieck. Brahms, Clara Wieck, Joachim and others organized a classics support group and opposed programming. Brahms wrote his only article in his life, where he spoke out against programming.

In the second half of the 50s, Brahms traveled to concerts as a pianist. Played with the Gewandhaus Orchestra. He performed with Clara Wieck and Joachim.

1858-1859 Direction of the court choir in Detmold (Germany). He has conducted works by Palestrina, Orlando Lasso, Handel, and Bach. Wrote “Moiras”. Choral music very important in Brahms's work. Later he wrote a German requiem.

Since the 60s, Brahms lived in Vienna, but not constantly (he traveled to Hamburg, Baden-Baden, Zurich, etc.). From the late 60s he settled in Vienna. Again he leads the choir chapel (Viennese). A great conductor. He performed Handel, Bach's St. Matthew Passion, and Mozart's Requiem.

1872-1875 Brahms was the head of the society of music lovers and conducted symphony concerts. But then I decided to delve deeper into creativity. Years of dawn – 70-80:

4 symphonies, violin and 2nd piano concertos, 2 piano trios (2nd and 3rd), 3 string quartets, songs and choirs, vocal ensembles, a lot of everyday music for home playing - “Songs of Love”, Hungarian dances, waltzes, orchestral serenades, piano quintets, string quartets.

IN recent years Throughout his life, Brahms was friends with Dvorak. Became a member of the Academy of Arts in Berlin, Doctor of Music at the Universities of Cambridge and Breslau. At the end of his life he wrote little: pieces for piano - “Intermezzo”, a clarinet quintet, a collection of 49 German folk songs. Brahms died in 1897.

4th Symphony (e-moll)

Lyrical-dramatic symphonic four-part cycle. Part I begins softly and sincerely. The 1st theme is soft, song-like. The symphony ends with a tragic finale.

Part I e-moll. Sonata allegro. In this part the entire cycle (code of the 1st part) is predetermined.

G.P. Sounds dramatic chord texture, with canonical intonation.

Part II. Typical of Brahms. Lyrics. Serious. There are echoes of the landscape. E-dur. Sonata allegro.

Part III. Contrasts parts 1 and 2. Festive. Similar to a scherzo. C-dur.

Part IV e-moll. Tragic ending. This is passacaglia. 32 variations on one theme. Symbolizes death. The form is variable.

G.P. In the tradition of Schubert. Song. Sounds from the violins. Melody and accompaniment. S.P. is built on this theme.

At the end of S.P. in front of P.P. a strong-willed fanfare motive appears. Fis-dur. He's playing big role in development. Immediately after him comes P.P.

P.P. Lyrical. At the cellos. H-moll.

Z.P. Several theme elements. 1st soft in H-dur. The 2nd theme is related to the fanfare motif. Heroic. The 3rd theme is gradual dissolution.

Development

Starts with G.P. in the main key. This gives the 1st part a narrative, ballad-like quality.

There are 2 sections in development.

1st section. Isolation. Motives are isolated from the theme and distant tonalities are touched upon.

2nd section. The fanfare motif and the 2nd element of G.P. develop.

Starts with G.P. in magnification. From the 2nd phrase of G.P. sounds like it's on display. P.P. and the fanfare motif sounds already in e-moll.

Topic G.P. changes a lot. It goes on canonically and in chords.

E-dur. Sonata form with introduction. Introduction – horns. Melodic E major.

G.P. Melodic E major.

P.P. The violins have a bright lyrical theme. H-dur. Landscape.

Development

The main method of development in development is variational. There is a code.

Sonata form.

G.P. C-dur. Flashing of different elements.

P.P. More melodious. G-dur.

Development

Eat new topic in Des-dur (called “episode in development”). Next, elements of the exposition themes are developed.

Main key.

The ending is big and tragic. Begins with a chorale melody. It sounds menacing. The entire variation cycle is divided into 3 parts (groups of variations).

1st group – up to 12 variations.

2nd group – 2 variations. 1st variation - At the beginning of the flute solo. Lyrical theme. Something like a lamento aria. 2nd variation - E major.

3rd group. E-moll.

Essays:

vocal-symphonic works and works for choir with orchestral accompaniment, etc.:

Ave Maria (op. 12, 1858), Funeral Song (Begrabnisgesang, lyrics by M. Weisse, op. 13, 1858), 4 songs (for female choir accompanied by 2 horns and a harp, op. 17, 1860), 13th psalm (for women's choir accompanied by organ, or piano, or string orchestra, op. 27, 1859), German Requiem (Ein deutsches Requiem, words from the Bible translated by M. Luther, op. 45, 1857-1868), 12 songs and romances (for female choir with piano accompaniment ad libitum, op. 44, 1859-63), Rinaldo (cantata, words by J. W. Goethe, op. 50, 1863-68), Rhapsody (words by J. W. Goethe, op. 53, 1869), Song of Fate (Schicksalslied, words by F. Hölderlin, op. 54, 1868-71), Triumphal Song (text from "Apocalypse", Triumphlied auf den Sieg der deutschen Waffen, op. 55, 1870-71 ), Nenia (words by F. Schiller, op. 82, 1880-81), Song of the Parks (Gesang der Parzen, words by J. W. Goethe, op. 89, 1882);

for orchestra-

4 symphonies: No. 1 (C minor, op. 68, 1874-76), No. 2 (D major, op. 73, 1877), No. 3 (F major, op. 90, 1883), No. 4 ( e-moll, op. 98, 1884-85);

2 serenades: No. 1 (D-dur, op. 11, 1858), No. 2 (A-dur, op. 16, 1858-60);

2 overtures: Academic solemn (C-mol, op. 80, 1880), Tragic overture (D-moll, op. 81, 1880-81), Variations on a theme by Haydn (B-dug, op. 56-a, 1873) ;

for one instrument with orchestra -

4 concertos, including concerto No. 1 for piano and orchestra (D minor, op. 15, 1854-59), concerto No. 2 for piano and orchestra (B major, op. 83, 1878-81), concerto for violins and orchestra (D major, op. 77, 1878);

for two instruments with orchestra -

double concerto for violin and cello (a minor, op. 102, 1887);

for ensemble of instruments -

2 sextets: No. 1 (for 2 violins, 2 violas and 2 cellos, B major, op. 18, 1858-60), No. 2 (same composition, G major, op. 36, 1864-65);

quintets-

2 quintets for 2 violins, 2 violas and cello: No. 1 (F-dur, op. 88, 1882), No. 2 (G-dur, op. 111, 1890), quintet for piano, 2 violins, viola and cello ( f-moll, op. 34, 1861-64), quintet for clarinet, 2 violins, viola and cello (h-moll, op. 115, 1891);

quartets-

3 piano quartets: No. 1 (G minor, op. 25, 1861), No. 2 (A major, op. 26, 1861), No. 3 (C minor, op. 60, 1855-74), 3 strings quartet: No. 1 (C minor, op. 51, circa 1865-73), No. 2 (A minor, op. 51, No. 2, 1873), No. 3 (B major, op. 67, 1875);

3 piano trios: No. 1 (H-dur, op. 8, 1854; 2nd edition 1889), No. 2 (C-dur, op. 87, 1880-82), No. 3 (C-moll, op. 101 , 1886), trio for piano, violin and horn (Es-dur, op. 40, 1856), trio for piano, clarinet and cello (a minor, op. 114, 1891);

sonatas for violin and piano -

No. 1 (G-dur, op. 78, 1878-79), No. 2 (A-dur, op. 100, 1886), No. 3 (d-moll, op. 108, 1886-88);

sonatas for cello and piano -

No. 1 (e-moll, op. 38, 1862-65), No. 2 (F-dur, op. 99, 1886);

sonatas for clarinet and piano -

No. 1 (F-moll, op. 120, 1894), No. 2 (Es-dur, op. 120, 1894), Scherzo (C-moll, for sonata, composed together with R. Schumann and A. Dietrich, without op. ., 1853);

for piano 2 hands -

3 sonatas: No. 1 (C-dur, op. 1, 1852-1853), No. 2 (fis-moll, op. 2, 1852), No. 3 (F-moll, op. 5, 1853), Scherzo (es -moll, op, 4, 1851); variations: 16 on a theme by R. Schumann (fis-moll, op. 9, 1854), on his own theme (D-dur, op. 21, 1857), on the theme of a Hungarian song (D-dur, op. 21, approx. 1855), Variations and fugue on a theme by G. F. Handel (B major, op. 24, 1861), Variations on a theme by Paganini (a minor, op. 35, 1862-63); 4 ballads (op. 10, 1854); 18 piano pieces (8, op. 76, No. 1-1871, No. 2-7 - 1878; 6 - op. 118, 1892; 4 - op. 119, 1892), 2 rhapsodies (No. 1 - B-moll and No. 2- g-moll, op. 79, 1879), fantasies (3 capriccios and 4 intermezzos, op. 116, 1891-92), 3 intermezzos (op. 117, 1892); in addition, without op.: 2 gigues (a-moll and h-moll, 1855), 2 sarabands (a-moll and h-moll, 1855), theme with variations (d-moll, from sextet op. 18, 1860 ), 10 Hungarian dances (sample of Hungarian dances for piano 4 hands, 1872), 51 exercises (collected in 1890), gavotte (A-dur, gavotte by X. V. Gluck), 5 etudes (on op. Chopin, Weber and Bach); 8 cadenzas for piano concertos: J. S. Bach (d-moll), W. A. ​​Mozart (G-dur, 2 cadenzas; d-moll, c-moll), Beethoven (G-dur, 2 cadenzas; c- moll);

Johannes Brahms (German: Johannes Brahms) (May 7, 1833, Hamburg - April 3, 1897, Vienna) is one of the most important German composers.

The son of poor parents (his father was a double bass player in the city theater), he did not have the opportunity to receive an excellent musical education and studied piano playing and composition theory from Ed. Markzena, in Altona. I owe further improvement to myself. In 1847, Brahms made his first public appearance as a pianist.

Later, in 1853, he met Robert Schumann, for whose high talent he had special reverence. Schumann treated Brahms' talent with great attention, which he spoke about very flatteringly in a critical article in a special musical organ: “Neue Zeitschrift für Musik.”

Brahms' first work - piano pieces and songs, published in Leipzig in 1854. Constantly changing his location in Germany and Switzerland, Brahms wrote a whole series works in the field of piano and chamber music. From 1862 he settled in Vienna, where he was conductor at the Singakademie, and from 1872-1874 he conducted famous concerts society "Musikfreunde". Later, Brahms devoted most of his activity to composition.

He wrote more than 80 works, such as: single-voice and polyphonic songs, a serenade for orchestra, variations on a Haydn theme for orchestra, two sextets for string instruments, two piano concertos, several sonatas for one piano, for piano with violin, with cello, piano trios, quartets and quintets, variations and various pieces for piano, cantata “Rinaldo” for tenor solo, male choir and orchestra, rhapsody (on an excerpt from Goethe’s “Harzreise im Winter”) for solo viola, male choir and orchestra, “German Requiem” for solo, choir and orchestra, “Triumphlied” (on the occasion of the Franco-Prussian War), for choir and orchestra; "Schicksalslied", for choir and orchestra; violin concerto, concerto for violin and cello, two overtures: tragic and academic.

But Brahms was especially famous for his symphonies. Already in his early works, Brahms showed originality and independence. Thanks to hard work Brahms developed a style for himself. From the general impression of his works, it cannot be said that Brahms was influenced by any of the composers who preceded him. But at the same time, it should be noted that, striving for independence and originality, Brahms often falls into artificiality and dryness. The most outstanding work in which creative power Brahms's most striking and original influence is his "German Requiem".

Among the masses of the public, the name Brahms is very popular, but those who think that this popularity is a consequence of his own compositions. Brahms transferred Hungarian melodies to the violin and piano, and these melodies, called “Hungarian dances,” entered the repertoire of a number of the most outstanding virtuoso violinists and served mainly to popularize the name of Brahms among the masses

Material from Wikipedia - the free encyclopedia

Johannes Brahms

Johannes Brahms, German composer and pianist, wrote concertos and symphonies, composed chamber music And piano works, songwriter. Grand Master sonata style of the second half of the 19th century can be considered as a follower of the classical tradition, and.

His works combine the warmth of the Romantic period with the severity classical influence Bach.

Brahms House in Hamburg

On May 7, 1833, a son, Johannes, was born to the family of musician Johann Jacob Brahms, who played the horn and double bass in the Hamberg Philharmonic, and Christina Nissen. The future composer received his first lessons in composition and harmony at a very young age from his father, who also taught him to play the violin, piano and horn.

In order to record invented melodies, Johannes, at the age of 6, invented own method music recordings. At the age of 7 he began studying piano with F. Kossel, who three years later passed on Brahms to his teacher Eduard Marssen. Brahms gave his first public concert at age 10.

Johannes gave his first public concert at the age of 10, performing a Hertz etude. He took part in chamber concerts of works by Mozart and Beethoven, earning money for his studies. From the age of 14 he played the piano in taverns and dance halls, gave private music lessons in an effort to help a family that regularly experienced financial difficulties.

Constant stress took its toll on the young body. Brahms was asked to take a holiday in Winsen, where he led a men's choir and wrote a number of works for it. Upon returning to Hamburg, he gave several concerts, but, having received no recognition, continued to play in taverns, giving and composing popular tunes.

The origins of gypsy motifs in the composer’s music

In 1850, Brahms met the Hungarian cellist Eduard Remenyi, who introduced Johannes to gypsy songs. The influence of these melodies can be seen in many of the composer's works. In the following years, Brahms wrote several works for piano and, together with Eduard, made several successful concert tours.

In 1853 they met the German violinist Joseph Joachim, who introduced them to a house in Weimar.
Brahms' friend, violinist Joseph Joachim

Liszt greeted them warmly, was impressed by Brahms's work and invited them to join his group of composers. But Johannes refused because he was not a fan of Liszt's music. Meanwhile, Joachim also wrote a letter to Robert Schumann, in which he praised Brahms in every possible way. This letter became best recommendation for Johannes. Brahms, in 1853, meets Robert and Clara Schumann

Brahms, in the same 1853, personally met the Schumann family, subsequently effectively becoming a member of it. Brahms had a special reverence for the composer's high talent. Schumann and his wife, pianist Clara Schumann-Wick, warmly received the young musician. Schumann's enthusiasm for the young composer knew no bounds, he wrote an article praising Johannes and organized the first publication of his compositions. In 1854, Brahms wrote a number of works for piano, including Variations on a Theme by Schumann.

In his articles about Brahms, Schumann wrote: “Here is a musician who is called upon to give the highest and ideal expression to the spirit of our time.”

That same year he was called to Düsseldorf when an older friend attempted suicide. He spent the next few years with the Schumann family, providing them with financial assistance. He again gave private piano lessons and made several concert tours. Two concerts with singer Julia Stockhausen contributed to Brahms's emergence as a songwriter.

In 1859, together with Joachim, he gives in several German cities the Piano Concerto in D minor, which was written a year earlier. It was only in Hamburg that he received a positive reception and then offered Johannes a job as conductor of the women's choir, for which he writes Marienlieder. A year later, Brahms heard that most musicians welcomed the experimental theories of the “new German school” of Liszt. This made him furious. He criticized many of Liszt's pro-List musicians in the press, and, moving to Hamburg, buried himself in writing, almost completely ceasing to perform publicly.

Vienna becomes Brahms's home

In 1863, Brahms emerged from his self-imposed seclusion and gave a concert in Vienna, with the goal of bringing his songs to the Austrian public. There he met Richard Wagner. Although Brahms was critical of Wagner in the press, each composer was still able to enjoy the other's work. Johannes received the position of conductor of the choral academy (Singakademie) in Vienna, which became his home for the rest of the composer's life. The experience of working with women's choirs became the basis for writing a number of new choral works, the best for their time. In 1863, Brahms emerged from his self-imposed seclusion and gave a concert in Vienna

Brahms's mother died in 1865. In memory of her, Johannes writes “The German Requiem” (Ein Deutsches Requiem). This work, based on biblical texts, was first presented in Bremen in good friday 1869. After that, it sounded throughout Germany, swept across Europe and reached Russia. It was the Requiem that became the work that placed Brahms in the first rank of composers of the 19th century.

Having become, in the opinion of the public, Beethoven's successor, the composer had to live up to the high honor. In the 1870s, he concentrated his efforts on works for string quartet and symphonies. In 1973, Brahms wrote Variations on a Theme by Haydn. After this, he felt ready to begin completing Symphony No. 1 (C minor). The symphony premiered in 1876 and was very successful, but the composer revised it, changing one of the movements before publication.

Rest for the composer was an opportunity to write

After the first symphony, a number of major works followed, and the fame of Brahms's works spread far beyond the borders of Germany and Austria. Concert tours throughout Europe contributed significantly to this. Having sufficient funds to provide for his family, young musicians and scientists whose work he supported, Brahms left his post as conductor of the Society of Friends of Music and devoted himself almost entirely to composition. IN concert tours he performed exclusively his own works. And he spent the summer traveling around Austria, Italy and Switzerland. On concert tours he performed exclusively his own works.

In 1880, the University of Breslau (now the University of Wroclaw in Poland) awarded Brahms an honorary degree. As a token of gratitude, the composer composed Solemn overture, based on student songs.

Every year the composer's collection of works grew. In 1891, as a result of meeting the outstanding clarinetist Richard Mühlfeld, Brahms got the idea of ​​writing chamber music for the clarinet. With Mühlfeld in mind, he composed a “Trio for clarinet, cello and piano,” a large “Quintet for clarinet and strings,” and two sonatas for clarinet and piano. These works are ideally suited in structure to the capabilities of the wind instrument, and are also elegantly adapted to it.

The last of his published works, “Four Serious Songs” (Vier ernste Gesänge), becomes a point in his career, at the same time being its peak. While working on this work, Brahms thought about Clara Schumann, for whom he had tender feelings (at that time her health was in serious decline). She died in May 1896. Soon Brahms was forced to seek medical help.

In March 1897, at a concert in Vienna, the audience last time was able to see the author, and on April 3 Johannes Brahms died. The composer was buried next to Beethoven and Franz Schubert.

Life story
Johannes Brahms was born on May 7, 1833 in Hamburg, the son of Jacob Brahms, a professional double bassist. Brahms's first music lessons were given by his father; later he studied with O. Kossel, whom he always remembered with gratitude.
In 1843, Kossel handed over his student to E. Marxen. Marxen, whose pedagogy was based on the study of the works of Bach and Beethoven, quickly realized that he was dealing with an extraordinary talent. In 1847, when Mendelssohn died, Marxen said to a friend: “One master has left, but another, greater one, is coming to replace him - this is Brahms.”
In 1853, Brahms completed his studies and in April of the same year went on a concert tour with his friend, E. Remenyi: Remenyi played the violin, Brahms played the piano. In Hannover they met another famous violinist, J. Joachim. He was amazed by the power and fiery temperament of the music that Brahms showed him, and the two young musicians (Joachim was then 22 years old) became close friends. Joachim gave Remenyi and Brahms a letter of introduction to Liszt, and they went to Weimar. The maestro played some of Brahms's works from sight, and they impressed him so much strong impression, that he immediately wanted to “rank” Brahms with the advanced movement - the New German School, which was headed by himself and R. Wagner. However, Brahms resisted the charm of Liszt's personality and the brilliance of his playing. Remenyi remained in Weimar, while Brahms continued his wanderings and eventually ended up in Düsseldorf, in the house of R. Schumann.
Schumann and his wife, pianist Clara Schumann-Wick, had already heard about Brahms from Joachim and warmly received the young musician. They were delighted with his writings and became his staunchest adherents. Brahms lived in Düsseldorf for several weeks and headed to Leipzig, where Liszt and G. Berlioz attended his concert. By Christmas Brahms arrived in Hamburg; he left hometown an unknown student, but returned as an artist with a name about which the great Schumann’s article said: “Here is a musician who is called upon to give the highest and ideal expression to the spirit of our time.”
In February 1854, Schumann attempted to commit suicide in a nervous attack; he was sent to a hospital, where he eked out his days until his death (in July 1856). Brahms rushed to the aid of the Schumann family and during ordeals took care of his wife and seven children. He soon fell in love with Clara Schumann. Clara and Brahms, by mutual agreement, never spoke of love. But the deep mutual affection remained, and throughout her long life Clara remained closest friend Brahms.
In the autumn months of 1857–1859. Brahms served as a court musician for a small princely court in Detmold, and summer seasons He spent 1858 and 1859 in Göttingen. There he met Agathe von Siebold, a singer and daughter of a university professor; Brahms was seriously attracted to her, but hastened to retreat when the topic of marriage came up. All subsequent passions of Brahms's heart were fleeting in nature. He died a bachelor.
Brahms's family still lived in Hamburg, and he constantly traveled there, and in 1858 he rented a separate apartment for himself. In 1858–1862 he successfully led a women's amateur choir: he really liked this activity, and he composed several songs for the choir. However, Brahms dreamed of becoming a conductor of the Hamburg Philharmonic Orchestra. In 1862, the former director of the orchestra died, but the place went not to Brahms, but to J. Stockhausen. After this, the composer decided to move to Vienna.
By 1862, the luxurious, colorful style of Brahms's early piano sonatas gave way to a calmer, stricter, classical style, which manifested itself in one of his best works - Variations and Fugue on a Theme of Handel. Brahms moved further and further away from the ideals of the New German School, and his rejection of Liszt culminated in 1860, when Brahms and Joachim published a very harsh manifesto, which, in particular, stated that the works of the followers of the New German School "contradict the very spirit of music."
The first concerts in Vienna were not met with a very friendly reception by critics, but the Viennese willingly listened to Brahms the pianist, and he soon won everyone’s sympathy. The rest was a matter of time. He no longer challenged his colleagues; his reputation was finally established after the resounding success of the “German Requiem”, performed on April 10, 1868 in cathedral Bremen. Since then, the most notable milestones in Brahms' biography have been the premieres of his major works, such as the First Symphony in C minor (1876), the Fourth Symphony in E minor (1885), and the Quintet for clarinet and strings (1891).
His material wealth grew along with his fame, and now he gave free rein to his love of travel. He visited Switzerland and other picturesque places, and traveled to Italy several times. Until the end of his life, Brahms preferred not too difficult travel, and therefore the Austrian resort of Ischl became his favorite vacation spot. It was there, on May 20, 1896, that he received news of the death of Clara Schumann. Having become seriously ill, he died in Vienna on April 3, 1897.
Brahms did not write a single opera, but otherwise his work covered almost all major musical genres. Among him vocal compositions, How mountain peak the majestic “German Requiem” reigns, followed by half a dozen smaller works for chorus and orchestra. Brahms' legacy includes accompanied vocal ensembles, a capella motets, quartets and duets for voices and piano, about 200 songs for voice and piano. In the orchestral-instrumental field, four symphonies, four concertos (including the sublime violin concerto in D major, 1878, and the monumental Second Piano Concerto in B-flat major, 1881), as well as five orchestral works various genres, including Variations on a Theme by Haydn (1873). He created 24 chamber instrumental works of various sizes for solo and two pianos, and several pieces for organ.
When Brahms was 22, experts such as Joachim and Schumann expected him to lead the resurgent Romantic movement in music. Brahms remained an incorrigible romantic throughout his life. However, this was not the pathetic romanticism of Liszt or the theatrical romanticism of Wagner. Brahms didn't like too much bright colors, and sometimes it may seem that he is generally indifferent to timbre. Thus, we cannot say with complete certainty whether the Variations on a Theme by Haydn were originally composed for two pianos or for orchestra - they were published in both versions. The Piano Quintet in F minor was first conceived as a string quintet, then as a piano duet. Such disregard for instrumental color is rare among the romantics, because the colorfulness of the musical palette was given decisive importance, and Berlioz, Liszt, Wagner, Dvorak, Tchaikovsky and others made a real revolution in the field of orchestral writing. But one can also recall the sound of the horns in Brahms’s Second Symphony, the trombones in the Fourth, and the clarinet in the clarinet quintet. It is clear that a composer who uses timbres in this way is by no means blind to colors - he simply sometimes prefers a “black and white” style.
Schubert and Schumann not only did not hide their commitment to romanticism, but were also proud of it. Brahms is much more careful, as if he is afraid of giving himself away. “Brahms does not know how to rejoice,” Brahms’s opponent, G. Wolf, once said, and there is some truth in this barb.
Over time, Brahms became a brilliant contrapuntalist: his fugues in the German Requiem, in the Variations on a Theme of Handel and other works, his passacaglia in the finales of the Variations on a Theme of Haydn and in the Fourth Symphony, are directly based on the principles of Bach's polyphony. At other times, Bach's influence is refracted through Schumann's style and reveals itself in the dense, chromatic polyphony of Brahms's orchestral, chamber and late piano music.
Reflecting on the passionate devotion of the Romantic composers to Beethoven, one cannot help but be struck by the fact that they turned out to be relatively weak in the very area in which Beethoven especially excelled, namely, in the field of form. Brahms and Wagner became the first great musicians who appreciated Beethoven's achievements in this area and were able to perceive and develop them. Already Brahms's early piano sonatas are permeated with such musical logic as has not been seen since the time of Beethoven, and over the years Brahms' mastery of the form became more and more confident and sophisticated. He did not shy away from innovations: one can name, for example, the use of the same theme in different parts cycle ( romantic principle monothematicism – in G major violin sonata, op. 78); a slow, reflective scherzo (First Symphony); scherzo and slow movement merged together (string quartet in F major, op. 88).
Thus, two traditions met in Brahms’s work: counterpoint, coming from Bach, and architectonics, developed by Haydn, Mozart, and Beethoven. To this is added romantic expression and color. Brahms combines different elements of German classical school and sums them up - we can say that his work completes classical period V German music. It is not surprising that contemporaries often turned to the Beethoven-Brahms parallel: indeed, these composers have a lot in common. The shadow of Beethoven hovers - with more or less distinctness - over all the major works of Brahms. And only in small forms (intermezzos, waltzes, songs) does he manage to forget about this great shadow - for Beethoven small genres played a secondary role.
As a songwriter, Brahms covered perhaps less wide circle images than Schubert or G. Wolf; Most of his best songs are purely lyrical, usually based on the words of second-rank German poets. Several times Brahms wrote to poems by Goethe and Heine. Almost always, Brahms's songs exactly correspond to the mood of the chosen poem, flexibly reflecting changes in feelings and images.
As a melodist, Brahms is second only to Schubert, but in compositional skill he has no rivals. The symphony of Brahms's thinking is manifested in the wide breathing of vocal phrases (often posing difficult tasks for the performers), in the harmony of form and richness of the piano part; Brahms is endlessly inventive in the field of piano texture and in his ability to apply one or another textural technique at the right time.
Brahms is the author of two hundred songs; he worked in this genre all his life. The pinnacle of song creativity was the magnificent vocal cycle “Four Strict Tunes” (1896), written at the end of his life, based on biblical texts. He also owns about two hundred arrangements of folk songs for various performing groups.